(We present Andy Synn‘s review of the new album by California’s Ursa, which was just released yesterday.)

While NCS may have a reputation for focussing mostly on Death and Black Metal, the truth is that we don’t like to limit what we cover to just a small sub-set of styles. As long as it’s got a sufficient metallic component, and a certain level of quality, we’ll be more than happy to give it a shot.

Over the years we’ve become particularly fond of the doomier side of Metal, in all its grim and gloomy varieties, to the point that you’re guaranteed at least one (or more) slot dedicated to dark, doomy goodness in every one of my/our year-end lists.

Last year it was the sublime Carnal Confessions by Fvneral Fvkk which took the honours, and in 2018 the medal went to Dor by Clouds, while 2017 saw albums from Loss, Foscor, and Paradise Lost all make the cut (and, FYI, I’m only just now realising how Doom-heavy that particular list was).

So far 2020 has already delivered its fair share of doom-laden delights, from the rugged, riff-heavy swagger of the new Solothus (which I touched upon briefly here last week), to the grandeur and gravitas of Loviatar’s Lightless (which hopefully I’ll get around to covering properly sometime soon), and several more which I’m sure I’m forgetting about.

And now it’s time for URSA to stake their claim with the release of Mother Bear, Father Toad. Continue reading »